Rico: Master Painters of the Island, 1780-1952. Newark Museum. Retrieved 9 July 2012. Among his pupils are Epifanio Irizarry, José R. Alicea, José Manuel Cintrón Pou and Juan Emilio Viguié.La llegada del cine puertorriqueno: nuestro primer acercamiento al cine. Eduardo Rosado. Historia del Cine en Puerto Rico. Retrieved 12 April 2012. Also among his disciples are Olga Albizu, Horacio Castaign, Rafael Ríos Rey, and Luis Quero Chiesa.Miguel Pou y Becerra. Puerto Rico Encyclopedia. Fundación Puertorriqueña de las Humanidades. Retrieved 9 July 2012. José Martínez Narváez, Miguel Rodríguez, Librado Net, Pedro Pacheco, Orlando Santiago, Ángel Miguel González, Félix Cordero, Waldemar Morales, and Margarita Sastre de Balmaceda. Style and characteristics Miguel Pou's was generally impressionistic in his style. He painted Puerto Rican landscapes and jibaro-type paintings. Pou did not have a political statement to make. He wanted to capture the ideal of what a jibaro or jibara was. He painted the beauty that the people and the land had from both the physical and spiritual perspectives while synergistically merging the two. "His work is considered impressionistic because of his use of a palette of colors and of light, although he presented reality as he saw it, without softening or exaggerating it. Nevertheless, he is a painter of the realist school because of his effort to depict Puerto Rican reality." Pou's masterpiece "Los Coches de Ponce" (1926) received many awards. By 1926 he had considerably perfectioned his art form from the days of "Las Lavanderas" (1896). By 1926 he had established a name for himself, and Los "Coches de Ponce" helped positioned Pou among Puerto Rico's greatest oil canvas painters. "Los Coches de Ponce" portrays Pou's inclination for everyday life scenes that so readily help identify Pou as an impressionistic movement painter. "Los Coches de Ponce" can be seem at Museo de Arte de Ponce. He liked to portray what the artist called "regional types". In terms of subject matter, he aimed to reflect the soul of the Puerto Rican people and a way of life he feared was being blown by the winds of modernity. His best work was local, embracing the land, its people, and their customs. Like Campeche and Oller before him, Pou helped to define the national character of Puerto Rico during his lifetime, and he added to Puerto Rico's artistic tradition in equally important ways. According to the Worcester Art Museum, "Miguel Pou... shows thorough command of the